There seems to be a peculiar kind of clamor for comics. And I'm not sure how much a part of reality that is. I think partly it's based on some idea that comics are what everybody wants to read - and I don't think that's the case.
As much as I devoured comics, I read non-graphic books exponentially more, so I'm not sure I can credit or blame them. Comics, however, taught me a lot about what makes a story arc work and how to bring a story to its natural resting place between issues.
There's a lot of art and comics and movies being paid homage to by game designers.
I actually very rarely see comedy myself, and although I admire the work of some comics, it does come from all over, so I'll get a charge out of some fiction writers and poets.
I never read any fairy tales or classics until I was an adult; all we ever had was comics... No television, either. If we wanted entertainment, we hung around the fish shop.
Great Canadian comics are often outsiders and insiders at the same time. That's a great perspective for a comedian.
There are some short stories in R. Crumb comics that are just wonderful and touch me in ways no other comics do.
A lot of comics fly by the seat of their pants, and they pride themselves on being witty, quick, and off-the-cuff. That's not my show. I wrote a show, and I want to do the show I wrote. I'm not interested in what the audience has to say.
There's a great deal of disturbance in this country and how black feel about what happened in Katrina, and, you know, many of the comics, many of performers are in Las Vegas and New Orleans trying to raise money for what happened there.
People, they think that animation is a style. Animation is just a technique. It's like, people, they think that comics is a style, like comics is a superhero story. Comic is just a narration, and is a medium, you can say any kind of story in comics and you can say of any kind of story in animation.
I tend not to look at my work after I've done it. In fact, the only time I typically get to review it is when the fans bring up comics at shows, and I kind of flip through it and be like, 'Oh, I remember doing this!'
There are 10-20 times more male comics than female comics; it's something to do with the social structure of society.
I don't want you to think that I'm up late reading a stack of Spider-Man comics and eating a tray of lemon cookies while sucking my thumb. I'm not doing that. But I am loyal to the influences of my childhood.
Let me tell you, writing comics is as hard as anything I've ever done - for me, at least. I'm now officially in awe of guys who can crank out multiple books a month and maintain a high level of quality. Comics are completely different than any other medium I've dabbled in.
After 'Blankets,' I was sick of drawing myself and doing this autobiographical, mundane, Midwestern sort of comics. I wanted to create something bigger than myself and outside myself.
I'm a big veteran of being able to, in one comic, explain to you everything that you need to know to get forward in the story without you having to refer back to years of continuity and a universe in these superhero comics.
I will say that 'Riverdale,' yes, is a little more sensationalized. It's based on comics, and it is a little bit more dramatic and a little bit more made for TV, made for teens. For '13 Reasons,' we tried hard to make it as real as we could, as close to reality as possible. No corners were cut; everything was very raw and very real.
I think women are vital to the future of the superhero comics and the entire industry - as creators, as editors, as consumers, as retailers.
The only people who like to live alone more than comics are priests.
I decided I was going to tell these stories. I went around and met Crumb. He was the cartoonist. I started realizing comics weren't just kid stuff.
I was sort of on a mission with 'American Splendor.' I wanted to try to prove that comics could do things. I wanted to expand them beyond superheroes and talking animals. And I knew that was going to take a long time. But I just started writing an autobiography about my quotidian life.
I think my printing to this day looks like the printing right out of a comic book. Actually, I always wanted to be in a comic book. I watched cartoons when I was a kid, too, and both comics and cartoons lit fire in my imagination. This realm holds a lot of interest for me, a lot of passion for me. So to be comic-ized, yeah, that's cool.
To be honest, writing comics is a dream come true - the form is unparalleled and is home to some of the most original and innovative storytelling around.
It's business, selling comics, you work out what sells and you don't want to muck about with it too much.
There's a very big part of me that just wants to take all of comics history and toss it on the bonfire. I'd sort of like to get on to the future.
I don't think working in superheroes is slumming it. I'm proud of this form. I like this. There's nothing inherently masculine about power fantasies. There's nothing inherently masculine about superhero comics. There's nothing inherently masculine about mythology. About science fiction.
I had a lot of ideas on how comics worked and pretty early on I had this idea that it would be fun to explain them in comics form.
Many in the creative professions were nerds in their pasts because they spent so long reading comics and using their imaginations when they were growing up.
Oh yeah, I was one of the first guys writing comic books, I wrote Captain America, with guys like Stan Lee, who became famous later on with Marvel Comics.
As a master of graphic creation, as teacher, historian, and roving ambassador of comics, Jerry Robinson has ensured that future generations of talented kids will continue to imagine and then put marks on paper.
Right from the outset, the prevailing mindset in British comics fandom was a radical and progressive one. We were all proto-hippies, and we all thought that comics would be greatly improved if everything was a bit psychedelic like Jim Steranko.
Comics as art. I do comics as comics, and my opportunity to tell stories. Simple. Basic. Let the characters have the excitement, not the package. That's where I come from.
I don't laugh out loud at comics a lot.
I've always been very forward-looking, and it was actually kind of difficult to turn my gaze backwards to look at comics history.
It was an unwritten law that black comics were not permitted to work white nightclubs. You could sing and you could dance, but you couldn't stand flat-footed and talk; that was a no-no.
There's something about the intimacy of comics that gives you a false bravado; you don't always consider the consequences.
